I have an embarrassing admission. This weekend while I was watching the television, I saw an interesting commercial with a completely gorgeous song in it. I could have sworn up and down that the song was the theme from Alan Menken’s score for Beauty and the Beast.

Well, I was wrong.  It wasn’t Disney but Camille Saint-Saëns’ the Aquarium movement from Carnival of the Animals.  Talk about feeling sheepish.

So in addition to this little incident and the Oscar nominations on Tuesday, I was thinking about film scores and classical music, and how the two inform each other. 

How many times have you heard music at the movies and couldn’t help but think it was Holst and not Horner who’d written the score?  And how frequently have you seen outstanding orchestras and performers lending their talents to film scores?

Lowell Liebermann is in Chicago as the featured guest composer with The Chicago Chamber Musicians' Composer Perspectives concert on Wednesday evening, December 7 in Ganz Hall.  Composer Perspectives concerts feature a pre-concert talk, performance with the composer presenting the program and post-concert reception with the composer and artists.

Here are Chicago Classical Music's five questions for Lowell, and his responses:

CCM:  What do you listen to on your iPod?

LL: I'm not even sure where it is right now! The only thing on it is actually my own complete works: I only use it when travelling to do a residency at whichever university so that I don't have to lug a suitcase of cds. Otherwise, since I spend my working days either composing or practicing for performances, I tend not to listen to a lot of music in my down time. And when I do, I prefer it live.

Chicago a cappella presents "Roll, Jordan, Roll" on Feb. 6, 7, 13, and 14. 
 
How did the African-American spiritual come about?  Here are some thoughts about the social background and history of the spiritual, from my program notes for these upcoming performances.   
 
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This is the first in a series of blogs to provide historical context for Chicago a cappella's upcoming February performances of spirituals, Roll, Jordan, Roll.  Some of this material didn't make it into the program notes and so is unique to this blog and this website.  Enjoy, and don't be shy about commenting if you have something to say.

Prior to Light Opera Works's production of "C'est la vie" (which opened on our Second Stage on October 9), the show had a run at the Oxford Fringe Festival in England.  I asked the show's creator, Gregg Opelka, to give us some insight into that production.
 
Here are his comments: